76 THE YOUTH’S CABINET.

emer EEE Ln

happens that there is a space at the end,
too small to admit another syllable.
What is to be done in such a case? It
will not do, unless that line complete a
paragraph, to let it stand as it is, and
to put quadrats at the end. The lines
must not be of unequal length. The
compositor gets over this difficulty in
one of two ways. He either reduces the
space between the words in the line he
is setting, so as to allow another sylla-
ble to come in, or he adds to the space
between the words, until he fills the
line so that. there is no blank space at
the end of: it. In the latter case, he
drives out; in the former, he gets in.
The process by which he does either of
these things, is called justifying the
line. To enable him to justify neatly,
there are thinner spaces than those
which he more commonly uses, placed
in a different part of his case, and he
employs these either in driving out or
getting in.

The line being well justified in the
stick, the compositor removes his rule,
places it on the other side of the line,
and lets the line move backward. The
reason he shifts the position of his rule
in this way, is, to have the advantage in
the next line, as in the first, of the smooth
surface of the rule, in placing the types
in the stick. He proceeds in the same
way with the second and subsequent
lines.

You ought, perhaps, to know the dif-
ference between solid and leaded matter.
The former. has no space between the
lines, The latter has a Jead, or thin
piece of metal, between each line, The
Castner is leaded. In newspapers, the
matter that appears on the inside, under

, the editorial head, is leaded, and so,

generally—though not always—is every-
thing original that is printed in the
paper. Books vary in this respect.
They are, perhaps, as often printed one
way as the other. The compositor, in
leaded, matter, places the lead in his
stick immediately after completing the
line, before he removes his rule.

By and by the compositor’s stick is
full. It is then necessary to empty it.
To do this, he places his rule on the out-
side of the last line, presses the third or
middle finger of each hand, lengthwise,
against. the ends of the lines, and so re-
moves the contents of the stick. If his
lines have been justified badly, he finds
this a troublesome operation. He may
let the whole stick-full slip from his fin-
gers, in which case he calls the state of -
the types pi. If, on the other hand, he
has spaced the lines as he ought to have
done, the emptying process is easy
enough. But we must not keep the
compositor waiting there, with the con-
tents of his stick—matter he calls it—
in his hand. We must provide some
place where he can empty his matter.
He must have a galley. This is a very
simple contrivance. All that is necessa-
ry is a frame sufficiently wide to admit
the lines, and so constructed that the mat-
ter, when placed in it, will stand upright.
A galley is sometimes a yard lofig, some-
times shorter. The galley must not lie
entirely horizontal; but one side of it
must be raised a little higher than the
other, so that the matter, being support-
ed only on one side of the galley, shall
not fall down

Suppose, now, that the compositor
has set up two or three galleys-full of
matter, and suppose him to be at work
on the Yourn’s Caxiyer still, He then